The Projectionist 2020

Chuck McCann, a dedicated projectionist, is introduced as he navigates the projection booth equipment, leading into the opening credits of The Projectionist. The story unfolds at the Midtown Theater in Manhattan, overseen by the domineering manager, Renaldi, who shows no mercy in berating his staff. While Chuck immerses himself in the projection booth, he daydreams of being the heroic Captain Flash. When Harry, an usher, steps into the booth to express dissatisfaction regarding Renaldi, Chuck shares his infatuation with a captivating woman he refers to as “The Girl”. This moment is interrupted by Renaldi, who harshly reprimands Harry for breaking the rules and gives Chuck a dressing-down for leaving a cigarette butt behind.

Feeling disheartened, Chuck rewinds a film reel while tuning in to a dismal radio broadcast that states, > “the way I see things, I’m not very optimistic at all, I just don’t think there’s much hope for the future.” This grim commentary is juxtaposed with an alarming movie trailer announcing The Terrible World of Tomorrow which warns viewers of a bleak future filled with dehumanization and violence. The broadcast goes on, “no.. how can we disagree with Doctor Masters… gentlemen… gentlemen… gentlemen… what we’re missing is the point about…”

As the end of his shift approaches, Chuck reflects on his surroundings, admiring movie star photographs adorning the booth’s wall. He begins to entertain himself by impersonating legendary figures like Humphrey Bogart, quoting lines from classics such as The Treasure of the Sierra Madre, The Caine Mutiny, and The Maltese Falcon, even mimicking the grand Sydney Greenstreet for good measure. His repertoire extends to Wallace Beery in Min and Bill, John Wayne in The Green Berets, James Stewart in The Spirit of St. Louis, and Clark Gable in Gone with the Wind, showcasing his talent for voice mimicry. In a nostalgic moment, he glances at a photo of Laurel and Hardy, recreating their iconic voices with lines like, “Say goodnight Stanley,” followed by the reply, “Goodnight Stanley.” In a dramatic flair, he concludes his performance with Bogart’s memorable farewell, “So long, Fred C. Dobbs.”

Amidst the monotony of his day-to-day life, Chuck yearns for excitement and romantic escapades, which fuels his fantasies of being Captain Flash. He imagines Renaldi morphing into the villainous figure known as The Bat, who commands a gang of six henchmen and seeks dominion over an X-ray device created by a wise old scientist. This scientist, with a distinct accent, is actually the elderly man who manages the theater’s candy concession. In a thrilling twist, The Bat abducts the scientist’s stunning daughter, who teams up with Captain Flash, demonstrating her fierce karate skills. Together, they triumph over The Bat and twirl into a vibrant Busby Berkeley-style musical number.